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Corpus Christi Watershed

Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

I’m not here to make you or me happy. | Music as a Virtue

Richard J. Clark · November 14, 2014

RIENDS OFTEN ASK me how I am able to write something here every week. I tell them that I am emotionally needy and that I seek affirmation on the Internet (just kidding of course.) Musicians want to be liked. We naturally want to make others happy so that in turn we are liked and praised. When people don’t like our music, it is incontrovertible that they lack good taste! (A friend refers to this attitude as the “tyranny of competence.”)

Truthfully, most people experience music through the lens of passive emotional stimulation. (This is not a judgment.) It is also possible, and perhaps preferable, to arrive at music through virtue. For example, it takes effort to listen to Bach’s B minor Mass, but an effort that is well worth it.

Furthermore, successful musicians are highly disciplined. It is not easy practicing the organ 4-5 hours a day in a 55-degree church in the winter or in a 95-degree church during the summer. It is not easy for a choir to not only learn their parts but to listen to each other and sing as one voice. It is not easy for a congregation to listen attentively week after week so that they may absorb, sing, and therefore pray the Word of God. Whether listening or performing, one is not passive, but fully engaged and fully active. Arrived at through virtue, music takes on even greater meaning.

NE MUST BE THICK SKINNED TO BE A MUSICIAN, especially in the Church. In an entitlement society, music is just another item in a long list of things that we “consume” even in corporate prayer. Therefore, musicians are inevitably on the receiving end of contradictory requests. “I want more of this (or that) because it speaks to me.” Such requests are probably not intended to be selfish. However, it must be charitably pointed out that what speaks to one individual may not speak at all to another. (An extremely poignant discussion on this topic by Jonathan Aigner on his blog Ponder Anew: Does the Church Idolize Music?)

Of course, this is not the point of music in worship – to make individuals or even the Music Director happy. In the Roman Rite, music is not merely important. Gregorian Chant and the propers grew up side by side with the Roman Rite. Therefore, music is at the very service of worship with Christ at the center—not us. Sacred music is intended to help us pray the words of the mass, and as such, pray the words of scripture. Sacred music is not simply an emotional stimulant designed for instant gratification, entertainment or sentiment. It is a means for prayer—for sanctification. It is also worth remembering, our prayers are not always answered immediately, but God is always listening to our prayer in song. Music practiced as such is a virtue.

ACRED MUSIC MUST BE BEAUTIFUL and done well. Certainly, we hope to please many who pray with it. But it is easy to get burnt out when dealing with pressures of competing “styles” of worship. Despite this, I find it important to retain a sense of gratitude. Fr. James Keenan, S. J. recently pointed out that we often arrive at gratitude through an emotional feeling. But he reminded us that gratitude is also a virtue. Even when mired in struggle, misunderstanding, and difficulty, we are fortunate to be part of this struggle. Much good will come of it, including a closer relationship with God. This alone will bring us true and lasting happiness.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

Never before have men had so many time-saving devices. Yet, never before have they had so little free time. When the world unnecessarily accelerates, the Church must slow down.

— Archbishop Fulton J. Sheen

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